. Art in France. FIG. 717.— III. (Museum of \ersailles.) ART IN FRANCE. 71S. — INCHES. OUAI-lSylE. (The Louvre, Paris.) antique cameo; andwhereas Delacroixdashed off fiissketches with an im-patient brush, Ingres,in spite of the pro-digious dexterity ofhis pencil, repeateda motive again andagain before he at-tacked its final had tasted thesecret satisfaction ofsinuous lines drawn by a master hand in the works of the greatRenaissance draughtsmen, and it is easy to recognize echoes ofLeonardo and Raphael in his Madonnas and his draped owes less to that a
. Art in France. FIG. 717.— III. (Museum of \ersailles.) ART IN FRANCE. 71S. — INCHES. OUAI-lSylE. (The Louvre, Paris.) antique cameo; andwhereas Delacroixdashed off fiissketches with an im-patient brush, Ingres,in spite of the pro-digious dexterity ofhis pencil, repeateda motive again andagain before he at-tacked its final had tasted thesecret satisfaction ofsinuous lines drawn by a master hand in the works of the greatRenaissance draughtsmen, and it is easy to recognize echoes ofLeonardo and Raphael in his Madonnas and his draped owes less to that antique sculpture which had petrified Davidspainting; for in sculpture the silhouette is determined by the model-ling of the full form, and Ingres, on the contrary, attenuates therelief, while defining the contours with extreme delicacy. His firstwork, (Edipus, still emphasised salient forms in the Davidian man-ner, and in the Saint Svrrtphorien there is a lictor who is famous forhis sturdy muscular system (Fig. 709); but as a rule, Ingres wouldnot allow modelling too emphatic to falsi
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
